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ContributorsShi, Ge (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-25
ContributorsShatuho, Kristina (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-27
ContributorsCarlisi, Daniel (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-07
Description
Yannis Constantinidis was the last of the handful of composers referred to collectively as the Greek National School. The members of this group strove to create a distinctive national style for Greece, founded upon a synthesis of Western compositional idioms with melodic, rhyhmic, and modal features of their local folk traditions. Constantinidis particularly looked to the folk melodies of his native Asia Minor and the nearby Dodecanese Islands. His musical output includes operettas, musical comedies, orchestral works, chamber and vocal music, and much piano music, all of which draws upon folk repertories for thematic material. The present essay examines how he incorporates this thematic material in his piano compositions, written between 1943 and 1971, with a special focus on the 22 Songs and Dances from the Dodecanese. In general, Constantinidis's pianistic style is expressed through miniature pieces in which the folk tunes are presented mostly intact, but embedded in accompaniment based in early twentieth-century modal harmony. Following the dictates of the founding members of the Greek National School, Manolis Kalomiris and Georgios Lambelet, the modal basis of his harmonic vocabulary is firmly rooted in the characteristics of the most common modes of Greek folk music. A close study of his 22 Songs and Dances from the Dodecanese not only offers a valuable insight into his harmonic imagination, but also demonstrates how he subtly adapts his source melodies. This work also reveals his care in creating a musical expression of the words of the original folk songs, even in purely instrumental compositon.
ContributorsSavvidou, Dina (Author) / Hamilton, Robert (Thesis advisor) / Little, Bliss (Committee member) / Meir, Baruch (Committee member) / Thompson, Janice M (Committee member) / Arizona State University (Publisher)
Created2011
Description
This paper describes six representative works by twentieth-century Chinese composers: Jian-Zhong Wang, Er-Yao Lin, Yi-Qiang Sun, Pei-Xun Chen, Ying-Hai Li, and Yi Chen, which are recorded by the author on the CD. The six pieces selected for the CD all exemplify traits of Nationalism, with or without Western influences. Of the six works on the CD, two are transcriptions of the Han Chinese folk-like songs, one is a composition in the style of the Uyghur folk music, two are transcriptions of traditional Chinese instrumental music dating back to the eighteenth century, and one is an original composition in a contemporary style using folk materials. Two of the composers, who studied in the United States, were strongly influenced by Western compositional style. The other four, who did not study abroad, retained traditional Chinese style in their compositions. The pianistic level of difficulty in these six pieces varies from intermediate to advanced level. This paper includes biographical information for the six composers, background information on the compositions, and a brief analysis of each work. The author was exposed to these six pieces growing up, always believing that they are beautiful and deserve to be appreciated. When the author came to the United States for her studies, she realized that Chinese compositions, including these six pieces, were not sufficiently known to her peers. This recording and paper are offered in the hopes of promoting a wider familiarity with Chinese music and culture.
ContributorsLuo, Yali, D.M.A (Author) / Hamilton, Robert (Thesis advisor) / Campbell, Andrew (Committee member) / Pagano, Caio (Committee member) / Cosand, Walter (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012
Description
The purpose of this project was to examine the lives and solo piano works of four members of the early generation of female composers in Taiwan. These four women were born between 1950 and 1960, began to appear on the Taiwanese musical scene after 1980, and were still active as composers at the time of this study. They include Fan-Ling Su (b. 1955), Hwei-Lee Chang (b. 1956), Shyh-Ji Pan-Chew (b. 1957), and Kwang-I Ying (b. 1960). Detailed biographical information on the four composers is presented and discussed. In addition, the musical form and features of all solo piano works at all levels by the four composers are analyzed, and the musical characteristics of each composer's work are discussed. The biography of a fifth composer, Wei-Ho Dai (b. 1950), is also discussed but is placed in the Appendices because her piano music could not be located. This research paper is presented in six chapters: (1) Prologue; the life and music of (2) Fan-Ling Su, (3) Hwei-Lee Chang, (4) Shyh-Ji Pan-Chew, and (5) Kwang-I Ying; and (6) Conclusion. The Prologue provides an overview of the development of Western classical music in Taiwan, a review of extant literature on the selected composers and their music, and the development of piano music in Taiwan. The Conclusion is comprised of comparisons of the four composers' music, including their personal interests and preferences as exhibited in their music. For example, all of the composers have used atonality in their music. Two of the composers, Fan-Ling Su and Kwang-I Ying, openly apply Chinese elements in their piano works, while Hwei-Lee Chang tries to avoid direct use of the Chinese pentatonic scale. The piano works of Hwei-Lee Chang and Shyh-Ji Pan-Chew are chromatic and atonal, and show an economical usage of material. Biographical information on Wei-Ho Dai and an overview of Taiwanese history are presented in the Appendices.
ContributorsWang, Jinding (Author) / Pagano, Caio (Thesis advisor) / Campbell, Andrew (Committee member) / Humphreys, Jere T. (Committee member) / Meyer-Thompson, Janice (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2011
ContributorsShi, Zhan (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-26
ContributorsLee, Eunhwa (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-17
ContributorsSuk, Mykola (Performer) / ASU Library. Music Library (Contributor)
Created2018-03-12
Description中国商品期货市场经历30年发展，已初备协调资源分配、对冲经营风险的功能。但受产业自身和期货市场发展的制约，各期货品种市场有效性参差不齐。随着我国经济从增量阶段过渡到存量阶段，期货作为企业的价格管理和风险控制工具的重要性日益凸显，因此研究我国商品期货市场有效性具有非常好的现实意义。
本文开创性的从期货的基本功能——资源配置的角度出发，提出有效市场是指其期货价格能够对本行业社会资源起到合理的调配作用的市场。在内容安排上，本文首先总结了现有国际成熟期货品种的特点并找出能够反映期货对资源配置能力的四个指标假说，分别为期现回归性、利润波动性、库存波动性以及现金流变化，然后通过数学模型证明指标数据和品种成熟度的关联，最后应用该套指标对我国商品市场有效性进行检验。数学方法上，本文先采用Bai-Perron内生多重结构突变模型对时间序列进行突变点检验，然后对断点时间序列分别进行多元回归，并在剔除季节性和周期性后，通过平稳性检验、ARCH效应检验结果来确定相应的Garch模型，并用Garch模型来描述时间序列的波动性。
通过数学验证，我们认为期现回归性、利润波动性、库存波动性以及现金流变化这四个指标可以作为反映期货成熟度的检验指标，用该套方法对国内部分活跃品种检验后发现大连豆粕期货已经具备成熟品种的特征，本文认为豆粕期货市场是有效的；PTA、玉米淀粉期货的四个检验指标在近年来表现出时间序列优化的特点，但因时间较短尚不稳定，可以认为是接近成熟的品种；而螺纹钢和铝期货在多数指标上表现不佳，表明他们对社会资源配置能力较差，因此本文认为螺纹钢和铝期货市场是活跃但非有效的。通过进一步分析，本文认为品种的期现回归性差是制约其资源配置能力发挥的关键因素，而交易标的不明确、
仓单制作难度大、产业参与度低以及期货设计中的其他限制因素又是导致期现回归性差的重要原因。
本文开创性的从期货的基本功能——资源配置的角度出发，提出有效市场是指其期货价格能够对本行业社会资源起到合理的调配作用的市场。在内容安排上，本文首先总结了现有国际成熟期货品种的特点并找出能够反映期货对资源配置能力的四个指标假说，分别为期现回归性、利润波动性、库存波动性以及现金流变化，然后通过数学模型证明指标数据和品种成熟度的关联，最后应用该套指标对我国商品市场有效性进行检验。数学方法上，本文先采用Bai-Perron内生多重结构突变模型对时间序列进行突变点检验，然后对断点时间序列分别进行多元回归，并在剔除季节性和周期性后，通过平稳性检验、ARCH效应检验结果来确定相应的Garch模型，并用Garch模型来描述时间序列的波动性。
通过数学验证，我们认为期现回归性、利润波动性、库存波动性以及现金流变化这四个指标可以作为反映期货成熟度的检验指标，用该套方法对国内部分活跃品种检验后发现大连豆粕期货已经具备成熟品种的特征，本文认为豆粕期货市场是有效的；PTA、玉米淀粉期货的四个检验指标在近年来表现出时间序列优化的特点，但因时间较短尚不稳定，可以认为是接近成熟的品种；而螺纹钢和铝期货在多数指标上表现不佳，表明他们对社会资源配置能力较差，因此本文认为螺纹钢和铝期货市场是活跃但非有效的。通过进一步分析，本文认为品种的期现回归性差是制约其资源配置能力发挥的关键因素，而交易标的不明确、
仓单制作难度大、产业参与度低以及期货设计中的其他限制因素又是导致期现回归性差的重要原因。
ContributorsWang, Ping (Author) / Gu, Bin (Thesis advisor) / Li, Feng (Thesis advisor) / Yan, Hong (Committee member) / Arizona State University (Publisher)
Created2019